TOOL — 10,000 Days (review)

Album · 2006 · Progressive Metal

3.5/5 · 2010-06-06
Conor Fynes

'10,000 Days' - Tool (7/10)

On all of their previous records, Tool have received some pretty heavy positive acclaim for their trippy blend of art rock and sludge metal. While I've never been a huge head-over-heels fanboy for this band, I can see why people like them, and they're definately a talented bunch. While the de facto magnum opus 'Lateralus' is probably better by album-standards, I have to say I've gotten more enjoyment over the years listening to this one more. There are some songs on it I really don't care for, but more songs that I really love.

Clocking in at about seventy five minutes long, this is a pretty lengthy piece of music, and theres quite alot to chew here. While they still use alot of their ambitious innovative technique here, alot of the songs here have a way about them that would make them a bit more 'universally appealing' to the commercial audience then any of the material on past releases. Hell, I have alot of friends who know nothing of prog that think 'The Pot' is an awesome song.

While the more accesible songs are great to listen to, the most memorable piece of this album was the most progressive piece on the album, 'Rosetta Stoned' (paired with it's extended introduction, 'Lost Keys.') Based loosely on famed Travis Walton's apparent alien abduction experiences (after which he wrote a book about it) the lyrics are ironic yet profound; it's not very often you get a dose of humour in deepness. It's my favourite Tool song, and a very heavy track at that. Near perfect.

When I think of '10,000 Days,' I think of it in three general parts, or sections. The first section of the album are the rockers ('Vicarious,' 'Jambi,' and 'The Pot') which '10,000 Days' is probably best known for. All of these songs are great tracks, and unlike a typical hard rock track, they don't get old after a simple few listens.

The second part (and the obvious highlight for prog fans) is the epic/experimental side of things, which would include 'Wings For Marie Pt I & II,' 'Rosetta Stoned,' and the two segues. 'Wings For Marie' is the reason '10,000 Days' can be considered Tool's most personal release, as it is about Maynard Keenan's mother dying. While the song is a bit too repetitive and one-tracked for a piece of it's length, there is alot of uncompromised emotion here; something not usually expected from a drug-related band like Tool.

The third part however, are the last two tracks, 'Intention' and 'Right In Two.' It is because of these two songs I can't give '10,000 Days' a superb rating. They are very boring, and a good closer should always leave the listener in some sort of shock. Instead, the final 'bang' is further towards the middle of the album, and the end of 'Rosetta Stoned.' There shouldn't be a two song (and a bonus atmospheric track I haven't touched on it) epilogue to an album; especially not songs of these lengths! 'Right In Two' can at least be listened to as a song, but 'Intention' is one of the most boring 'prog' songs I've listened to in a while. A bit of a dissapointing end to an otherwise great album.

'Vigniti Tres' isn't so much music as just soundscaping (for the sake of soundscaping.) It's sort of chilling, and sounds like you're standing in an abandoned futuristic subway tunnel of sorts... It's pretty cool to listen to once in a while, and certainly more entertaining than the two songs that come before it. Despite the rather weak ending however, '10,000 Days' is my most enjoyed release from Tool (albeit probably not the best album; theres a difference.) A worthy addition to the Tool legacy.